The British architect Tony Fretton has long been renowned as a pioneer of London’s architectural scene, winning many commendations and prizes for his buildings. Highlights include the Lisson Gallery in London, for which he attracted initial attention in 1990, as well as the Red House in London (2001) and the Danish Fuglsang Art Museum (2008).
The three parts of this comprehensive and conclusive monograph address all aspects of his creative oeuvre: including his buildings, sketches, project ideas and his non-architectural photographic work. The reserved design of this overall presentation reflects his own rational, unembellished work, which is inspired by each respective location.
This book traces the legacy of the Department Building at the Ulm School of Design, where experimentation and intellectual rigor redefined modern architecture. Rooted in critical thinking and knowledge exchange, it brought together design, science, and creativity to address architecture’s complex challenges.
“Today, the open spirit of Ulm feels more urgent than ever, reshaping how we inhabit and imagine the future of our data-driven world.” – Georg Vrachliotis, Head of the Architecture Department, TU Delft
Miami, Florida, is a city that’s highly vulnerable to the effects of climate change. Global design firm ArquitectonicaGEO is at the forefront of designing sustainable, contemporary landscaped environments that address these challenges as well as enhancing the human experience and community wellbeing.
In Resilient Horizons: The Future of Landscape Architecture, ArquitectonicaGEO presents 10 pioneering projects in Miami, offering an insightful case study that explores the transformative role of landscape architecture in creating a more resilient city. Ranging from urban green spaces and neighborhood precincts to large-scale developments and ecosystem restorations, these projects demonstrate how sustainable, innovative landscape architecture can transform not just spaces, but entire communities, and our future cities.
Full-color photography, site plans, drawings, and engaging narratives showcase the innovative approaches that ArquitectonicaGEO uses to design sustainable, resilient, enriching environments. Written in English and Spanish, the bilingual text reaffirms the importance of landscape architecture as a powerful, transformative tool for a greener future.
Text in English and Spanish.
500 piece puzzle featuring the artwork of South African artist Thania Petersen.
South African artist Thania Petersen can trace her lineage back to Tuan Guru, an Indonesian prince brought to South Africa by the Dutch in the 18th century. Fittingly, her work interrogates colonial histories and explores hybrid identities. Her dazzling embroideries, like this middle panel from her recent Drowned Bodies Never Die tryptic, fuse styles derived from history painting and textiles and provide both visual delight and subversive content through their rich symbolism.
Gilbert & George are two men, but one artist. Tied to the 2025 exhibition Death Hope Life Fear… at the Gilbert & George Centre in London, this book showcases 18 of their powerful works from 1984 to 1998. During this period, their art evolved into vivid, confrontational territory, with intense colors and ritualistic energy. Central to the show is the monumental Death Hope Life Fear (1984), a key work from The 1984 Pictures, exploring themes of youth, nature, identity and cosmic balance. The exhibition spans early spiritual pieces from Finding God (1982) to the raw introspection of The Rudimentary Pictures (1998). Bold and uncompromising, Death Hope Life Fear… reaffirms Gilbert & George’s enduring mission to create art that speaks to all.
“As enterprises embrace AI and automation, three challenges emerge: empowering employees as roles shift, enabling continuous reskilling without disruption, and creating real synergy between AI and human talent. Drawing from real-world transformation programs, this book offers a practical playbook to address these shifts – not with theory, but with actionable strategies, proven tools, and human-centric design. The new AI era demands more than technology; it demands a reimagined employee experience that fuels performance, personalizes learning, and strengthens coaching. When done right, this isn’t just adaptation. It’s transformation, helping people stay relevant, resilient, and ready for what’s next.” — Gal Rimon, Founder and CEO, Centrical
“With clarity and structure, this book turns the overwhelming topic of AI into the confidence leaders need to simply get started.” — Eline Lostrie, Co-CEO, nexxworks
AI Will Replace You shows how organizations can let go of their fear of AI and instead embrace this technology as a lever for growth. Using the practical and accessible AI Navigator framework, you’ll discover how to effectively embed AI into your strategy, get your employees on board, and prepare your organization to become an AI leader.
Flowers of Fire is a poetic and experimental collaboration between artist Anaïs Tondeur and philosopher Michael Marder, created during a residency in Naples in dialogue with scientists and the inhabitants of the Terra dei Fuochi. The project intertwines photography, ecology, and philosophy to address a landscape marked by pollution and environmental trauma. Using an innovative technique of phytography, Tondeur lets plants imprint their own presence onto photosensitive paper and textiles recovered from landfills—images born from sunlight, soil, and vegetal touch. Marder responds with letters addressed to the plants, read aloud by the artist in a ritual of correspondence and care. Together, their dialogue gives form to an ethics of listening and reciprocity between human and vegetal life. Both artwork and ecological meditation, Flowers of Fire invites us to imagine new bonds of responsibility with the living world.
For more than 4,500 years people have been drawn to a windswept plain at the heart of southern England where a circle of vast upright stones topped with massive lintels stands. Yet Stonehenge – probably the most famous prehistoric monument in the world – remains mysterious.
Today, nearly one and a half million people a year come from across the world to see for themselves this silent icon of the ancient past. But what do we really know about the people who built it, why they did so, and what they did here among the stones? In the 18th century stories of Druids, of sacrifices and pagan worship emerged in the silence. How has our understanding of this complex site changed since then?
Through spectacular new photography, historic images, artworks and a remarkable new reconstruction drawing, Susan Greaney tells the story of Stonehenge, its builders and the people whose lives have been touched by this awe-inspiring monument from earliest times to the present day.
The Letting Go is a long-standing, performative, and participatory practice by artist Natascha Stellmach. It explores themes of vulnerability and empowerment. Following a meditation and in response to the question, “What would you like to let go of?”, the practice involves identifying, naming, embodying, and experiencing healing and impermanence through the body. Its method includes ritual tattooing without ink (a bloodline tattoo) to address a personal obstacle and initiate an intimate enquiry.
Over a period of almost 10 years, Stellmach performed more than 120 sessions with individuals in galleries and privately, including herself. Through evocative photography, academic research, and participant-contributed selfies and reflections, the publication invites readers to embrace “the wonder in our wounds” and offers a deeply human portrait of what it means to let go.
The book includes a foreword by acclaimed actor Sandra Hüller, as well as essays by curator and arts writer Kelly Gellatly and psychiatrist and psychoanalyst Dr. Matthew McArdle.
In his first monograph; Libasse Ka brings together a selection of his recent work. In it he continues his exploration of the essence of painting and examines the boundaries of his own creative process.
Ka approaches painting as an ongoing process of layered transformation. His works emerge through the reworking of forms; the introduction of pauses; and the continuous reformulation of ideas. He frequently returns to older or unfinished canvases; which he reactivates to address unresolved questions or to give new direction to incomplete passages.
His compositions are driven by a lively rhythm; in which colour plays a prominent and propelling role.
This publication appears on the occasion of his solo exhibition at Carlos Ishikawa Gallery in London. His first institutional exhibition at Museum Dhondt-Dhaenens in the Autumn of 2025 received international attention and acclaim.
King of river fish, it is a portentous animal born in fresh waters and then driven far out toward the cold seas and deep oceans that will host it until the instinct to reproduce becomes dominant. At that moment, this extraordinary migrant begins its inexorable return journey, retracing the currents that lead it back to its place of origin. To survive such an undertaking is rare; whether male or female, each will die where it once received life and, in turn, gives life. A phenomenal example of courage and determination, salmon has held a prominent place in the vast realm of gastronomy since ancient times. Indeed, historical evidence related to its processing—such as smoking or marinating—traces the evolution of a foodstuff that spans millennia and connects cultures and traditions far removed from one another. A food of remarkable nutritional value, with meat characterized by a rich, slightly sweet, and brackish flavor, salmon has, however, been increasingly mistreated in recent years.
Text in English and Italian
İnci Eviner: Moving Across and Beyond the Line is the most comprehensive monograph to date on the Istanbul-based artist and academic, spanning her practice from early 2000s to present. Rooted in drawing yet multiplied across diverse media—video, performance, sculpture, costume, and writing—Eviner’s works form a living ecosystem: interconnected, mutable, and perpetually in flux. Uncanniness emerges at the intersection of humor and violence, where rigid taxonomies collapse, and a network of shifting forms resists linearity and Cartesian logic. Deeply political, Eviner’s practice does not simply address collective and socio-cultural realities but is inherently embedded within them. The figures inhabiting her universe appear and reappear across media, continually transforming while maintaining dialogic relationships with the artist herself. Featuring insightful essays by Roger Malbert and Heinz Peter Schwerfel, this richly illustrated volume unfolds Eviner’s oeuvre as a constellation of doorways—each leading elsewhere, yet all rooted in the generative act of drawing.
Text in English and Turkish.
Real Life is introduced and curated by Wells Fray-Smith. It is published in collaboration with Gallery Sofie Van de Velde on the occasion of the group exhibition Real Life. The publication gathers works by Ilse D’Hollander, Lois Dodd, Christopher Colm Morrin, Jesse Murry, Heidrun Rathgeb, Peter Shear, Trevor Shimizu, and Frank Walter, presenting a dialog across generations and geographies around painting’s enduring engagement with lived experience. The book explores how these artists, much like Ilse D’Hollander herself, use paint to address reality in its most porous, poetic, and capacious sense. Whether working through figuration or abstraction, their practices blur the boundaries between pigment and picture, illusion and observation, the tangible and the transcendental. At its heart Ilse D’Hollander’s quiet yet profound vision. Through sketchbooks and paintings from 1988 onward, she offered intimate glimpses of her daily surroundings — a window frame, a stairway, a cat — each rendered with the same precision and restraint that define her painting. These drawings were not preparatory studies but complete reflections on perception itself, acts of seeing that transformed the ordinary into the contemplative.
The Zambian-Norwegian artist, Anawana Haloba, creates multi-media installations that appeal to all the senses, including hearing and smelling. But she also challenges audiences to think. Many of her works address current discussions about Africa’s colonial legacy.
The publication presents a selection of works from her artistic practice. In addition, she has created a new work—her very own opera— a video installation with singing sculptures, that draws on rich traditions of folk opera in Zambia.
Haloba’s work invites us to listen in new ways, not just with our ears, but to history, forgotten languages, and to the stories that materials can tell. Her art reminds us to make room for what is disappearing, and to imagine new ways of being that can grow from what is left behind.
Text in English and Norwegian.